Editing Inigo Jones (section)

==Early life and career==
[[File:Bust of Inigo Jones by John Michael Rysbrack, 1725.jpg|thumb|left|upright|Bust of Inigo Jones by [[John Michael Rysbrack]], 1725]]
Beyond that he was born in [[Smithfield, London|Smithfield]], London, as the son of clothworker Inigo Jones Snr., and baptised at the <!-- Anglican??? -->church of [[St Bartholomew-the-Less]], little is known about Jones's early years. Later Welsh sources claim that the family was from [[Wales]], and even that Inigo was originally named Ynir or Ynyr Jones.<ref>Angharad Llwyd, A History of the Island of Mona, Or Anglesey (Ruthin: R. Jones, 1833) 360</ref><ref>Arthur Aitkin, Journal of a Tour Through North Wales (London: J. Johnson, 1797) 108</ref><ref>John Evans, A Tour through Part of North Wales (London: J. White, 1800) 279</ref> But no records from his own time indicate any family ties to Wales.

He did not approach the architectural profession in the traditional way, namely either by rising up from a craft or through early exposure to the Office of Works, although there is evidence that [[Christopher Wren]] obtained information that recorded Jones as an apprentice joiner in [[St Paul's Cathedral|St Paul's Churchyard]].<ref>Colvin, Howard, ''A Biographical Dictionary of British Architects: 1600 to 1840'' (1954)</ref> At some point before 1603, a rich patron (possibly the [[Earl of Pembroke]] or [[Roger Manners, 5th Earl of Rutland|the Earl of Rutland]]) sent him to Italy to study drawing after being impressed by the quality of his sketches. From Italy he travelled to Denmark where he worked for [[Christian IV of Denmark|Christian IV]] on the design of the palaces of [[Rosenborg Castle|Rosenborg]] and [[Frederiksborg Castle|Frederiksborg]].<ref name=Chambers>{{Cite book|title=The English House|first=James|last=Chambers|year=1985|location=London|publisher=Guild Publishing|page=75}}</ref>

[[File:IJonesKnightmasque.jpg|thumb|upright|A [[masque]] costume for a knight, designed by Inigo Jones]]

Jones first became famous as a designer of costumes and stage settings, especially after he brought "[[masque]]s" to the stage. Under the patronage of Queen [[Anne of Denmark]] (the consort of King [[James I of England|James I]]),<ref name=Chambers /> he is credited with introducing movable scenery and the [[proscenium]] arch to English theatre. Between 1605 and 1640, he was responsible for staging over 500 performances, collaborating with [[Ben Jonson]] for many years, despite a relationship fraught with competition and jealousy: the two had arguments about whether stage design or literature was more important in theatre. (Jonson ridiculed Jones in a series of his works, written over two decades.)<ref>See: ''[[The Masque of Augurs]]''; ''[[The Staple of News]];'' [[A Tale of a Tub (play)|''A Tale of a Tub;'']] ''[[Love's Welcome at Bolsover]]''. Jonson's follower [[Richard Brome]] also took a swipe at Jones in ''[[The Weeding of Covent Garden]]''.</ref> Over 450 drawings for the scenery and costumes survive, demonstrating Jones's virtuosity as a draughtsman and his development between 1605 and 1609 from initially showing "no knowledge of Renaissance draughtsmanship" to exhibiting an "accomplished Italianate manner"<ref>Orgel, Steven and Strong, Roy C., ''Inigo Jones and the theatre of the Stuart Court'', 1973</ref> and understanding of Italian set design, particularly that of [[Alfonso Parigi the Elder|Alfonso]] and [[Giulio Parigi]]. This development suggests a second visit to Italy, {{Circa|1606}},<ref>Gotch, A. J., ''Inigo Jones'', 1968</ref> influenced by the ambassador [[Henry Wotton]]. Jones learned to speak Italian fluently and there is evidence that he owned an Italian copy of [[Andrea Palladio]]'s {{lang|it|[[I quattro libri dell'architettura]]}} with [[marginalia]] that refer to Wotton. His architectural work was particularly influenced by Palladio.<ref>[[The Center for Palladian Studies in America, Inc.]], [http://www.palladiancenter.org/timeline-Palladianism.html Palladio and English-American Palladianism] {{Webarchive|url=https://web.archive.org/web/20091023050942/http://www.palladiancenter.org/timeline-Palladianism.html |date=23 October 2009 }}</ref> To a lesser extent, he also held to the architectural principles of the ancient Roman writer [[Vitruvius]].

Jones's first recorded architectural design is for a monument to Frances, Lady Cotton, commissioned by [[Rowland Cotton]], {{Circa|1608–1611}},<ref>Giles Worsley, ''Inigo Jones and the European Classical Tradition'' (Yale, 2007), pp. 6, 8–9.</ref> at [[Norton-in-Hales]], Shropshire, showing early signs of his classical intentions.<ref>John Newman, [https://www.jstor.org/stable/877379 "An Early Drawing by Inigo Jones and a Monument in Shropshire"], ''The Burlington Magazine'' 115 (843) (June 1973), pp.&nbsp;360+</ref> In July 1606, Jones made scenery for a masque at [[Theobalds]] for the [[Robert Cecil, 1st Earl of Salisbury|Earl of Salisbury]]. In the following years, Jones made drawings for the Earl of Salisbury's New Exchange in the Strand, where work commenced in June 1608,<ref>Giles Worsley, ''Inigo Jones and the European Classical Tradition'' (Yale, 2007), p. 7.</ref> and the central tower of St Paul's Cathedral, displaying a similar practical architectural inexperience and immature handling of themes from sources including Palladio, Serlio and Sangallo. In 1609, having perhaps accompanied Salisbury's son and heir, [[William Cecil, 2nd Earl of Salisbury|Viscount Cranborne]], around France, he appears as an architectural consultant at [[Hatfield House]], making small modifications to the design as the project progressed, and in 1610, Jones was appointed Surveyor to [[Henry Frederick, Prince of Wales|Prince Henry]]. He devised the masques the ''[[The Speeches at Prince Henry's Barriers|Barriers]]'' and the ''[[Oberon, the Faery Prince|Masque of Oberon]]'' for the Prince and was possibly involved in some alterations to [[St James's Palace]].<ref>Edward Chaney and Timothy Wilks, ''The Jacobean Grand Tour: Early Stuart Travellers in Europe'' (I.B. Tauris: London, 2014), pp. 64–6, 153.</ref>

On 27 April 1613, Jones was appointed the position of [[Office of Works|Surveyor of the King's Works]] and shortly after, embarked on a tour of Italy with the [[Thomas Howard, 21st Earl of Arundel|Earl of Arundel]], destined to become one of the most important patrons in the history of English art. On this trip, Jones was exposed to the architecture of [[Rome]], [[Padua]], [[Florence]], [[Vicenza]], [[Genoa]] and [[Venice]] among others. His surviving sketchbook shows his preoccupation with such artists as [[Parmigianino]] and [[Andrea Schiavone]]. He is also known to have met [[Vincenzo Scamozzi]] at this time. His annotated copy of Palladio's ''Quattro libri dell'architettura'' also demonstrates his close interest in classical architecture: Jones gave priority to Roman antiquity rather than observing the contemporary fashion in Italy. He was probably the first native-born to study these Roman remains first hand and this was key to the new architecture Jones introduced in England and Wales.<ref name="Strickland2001">{{cite book |last1=Strickland |first1=Carol |last2=Handy |first2=Amy |title=The Annotated Arch: A Crash Course in the History of Architecture |date=2001 |publisher=Andrews McMeel Publishing |isbn=9780740710247 |page=67 |url=https://books.google.com/books?id=rdiFhC6XOWwC&pg=PA67 |access-date=17 December 2018 |language=en}}</ref>